law’s earnest yet aggressive bedside devotions in the disturbing
scene in which Yezad’s prayers and Daisy’s music seem to do
battle over the mute, prostrate elder (FM, 433–5).
Formally, the concern for past-present connections is played
out through repetitions: Yezad comes to repeat Nariman’s
father’s inflexible religiousdogma; Murad’s non-Parsi girlfriend
threatens a repeat of the parental estrangement of the earlier
generation; and, at one point, Yezad unfairly accuses Roxana of
neglecting the rest of her family in favour of her father,
‘ultimate reality’, again, a ‘religious truth’ clearly unconfined by traditional religiousdogma. In answering the third question concerning the
nature of the relation between religion and poetry Thomas’s answer is
implicit in the foregoing responses: the relation between religion and
poetry is, for Thomas, clearly organic. The individual’s subjective experience of ultimate reality itself becomes the natural stuff of poetry.
Indeed, according to his own definitions, to cast off the ‘religious frame’